Diss. Univ. Köln, 2007. / Ed. commerciale de la thèse de Köln, Philosophische Fakultät der Universität, 2007.

Thesis (doctoral)--University of Stockholm, 1993. / Includes bibliographical references.

John Curtis Holmes (August 8, 1944 - March 13, 1988) better known as "Johnny Wadd" (after the lead character in a series of related films), was one of the most prolific male porn stars of all time, appearing in about 2,500 adult loops, stag films, and pornographic feature movies in the 1970s and 1980s. Though he has passed on, the most famous part of Holmes is still present in the flesh (or thermal plastic elastomer, as it were). "The Original" is one of hundred of thousand mass-produced Holmes homages marketed all around the world and was molded directly from the legendary star. In response to this "toy", I became fascinated and somewhat disturbed by the implication of ownership and agency implied by the mass marketing and commercialization of an individual's actual body part. Further playing upon this co-opting of identity and commodification of the body, I placed an open call for artists to design their own piece for the John Holmes Prick Parade. The nude female form has long dominated as the artists' subject. The John Holmes Prick Parade hopes to give some visibility to the much neglected male apparatus. This is a move towards balancing gender equality within the anatomical object-ification of the art world. Before you is the grand culmination of this process, which began almost 70 years ago with the birth of a most "gifted" individual.

This paper examines the development of the Zinneke Parade, a new intangible heritage project in Brussels. Using an interdisciplinary approach which encompasses heritage studies and multicultural studies, it analyses the processes and aims of the parade. With rising globalisation and the corresponding fragmenting of societies has come the many legitimacy claims of identity politics. The resulting growth of multiculturalist and interculturalist approaches in ethnoculturally diverse societies and increased pluralism in heritage projects form the background of the Zinneke Parade. Through narratives gathered from interviews and promotional materials, this paper discusses how Zinneke manifests both interculturalist and pluralist heritage approaches.

This thesis uses insight drawn from fieldwork among people developing a civic parade in Manchester over 2011-12 to analyse what happens in the translation of ideas into entities for display. It argues for creativity as an adaptive process, a responsive, dynamic activity manifested by parade makers, as they sought to realise the imagined event. It traces the roles that underpinned parade production and how people made sense and use of allocated responsibilities, while working within and through organisational boundaries. It situates the parade as an ‘art object’ (Gell 1998), constituted of assemblages at different scales (De Landa 2006), each embedded in a web of relationships to show how: a civic attempt to bring a public into being provides insight on the constituting organisational structures; the operational style of the arts organisation commissioned to produce the parade, led to imagining it into existence; and how two community groups responded to the parade parameters according to their own social dynamics. The thesis builds on ethnographic analyses of collaborative activities to consider how organisational shapes combine and how their constitutions substantially affect evolving entities. Situating creativity as an adaptive process separates creative activities from art practices by emphasising how supporting people to respond productively to changing circumstances encourages them to be creative. This thesis makes an original contribution to anthropology by showing through ethnography how creativity is a process, enacted through purposeful adaptation to circumstances in order to realise something tangible. It also encourages the development of a comparative framework for contemplating the extent to which different cultural contexts enable adaptive endeavours.

No description available.

How to create a permanent house for a temporary event? How to provide a comfortable environment in an extreme climate? / Master of Architecture

Mak Hon Ming Franky. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1996-97, design report." / Includes bibliographical references. / Chapter 1 --- DEFINING PROBLEM / Chapter 1.1 --- INTRODUCTION / Chapter 1.2 --- BACKGROUND / Chapter 1.3 --- TEMPORARY NEED FOR SPACE / Chapter 1.4 --- SITE LOCATION / Chapter 1.5 --- SITE SPECIFIC FESTIVALS / Chapter 1.6 --- NON SITE SPECIFIC FESTIVALS / Chapter 1.7 --- PROGRAMME / Chapter 2 --- DESIGN SOLUTION / Chapter 2.1 --- SITE EVOLUTION / Chapter 2.2 --- BUILDING ORGANIZATION / Chapter 2.3 --- FLEXIBLE SETTING / Chapter 2.4 --- ICON FOR FESTIVALS / Chapter 2.5 --- ZONING (MAIN STRUCTURE) / Chapter 2.6 --- ZONING(STAGE) / Chapter 3 --- STRUCTURE AND SERVICES / Chapter 3.1 --- ROOF (MAIN STRUCTURE) / Chapter 3.2 --- CONSTRUCTION / Chapter 3.3 --- "(A,B,C) JOINTING DETAILS A,B,C" / Chapter 3.4 --- HULL STRUCTURE / Chapter 3.5 --- BALANCING SYSTEM / Chapter 3.6 --- RETRACTABLE SEATING / Chapter 3.7 --- POWER AND ENERGY / Chapter 3.8 --- PLUMBING AND DRAINAGE / Chapter 3.9 --- LIFE SAFETY / Chapter 4 --- DESIGN PROCESS / Chapter 4.1 --- FIRST CONCEPT / Chapter 4.2 --- CHANGING IMAGE / Chapter 4.3 --- TWO BLOCKS WITH ATRIUM / Chapter 4.4 --- FROM ONE TO TWO / Chapter 4.5 --- FLEXIBLE ORGANIZATIONS / Chapter 4.6 --- STRUCTURAL STUDIES / Chapter 4.7 --- STRUCTURAL PURIFICATIONS / Chapter 4.8 --- FINAL SOLUTION / Chapter 5 --- LIGHTING STUDY / Chapter 5.1 --- PLANNING FOR LIGHTING / Chapter 5.2 --- LIGHTING COLUMN / Chapter 5.3 --- NATURAL VS ARTIFICIAL LIGHTING / Chapter 5.4 --- LUX LEVEL / Chapter 5.5 --- FLOODLIGHTING SPECIFICATION / Chapter 5.6 --- UPLIGHTING SPECIFICATION / Chapter 5.7 --- MODULAR LIGHTING SPECIFICATION

The origin of festivals in Taiwan comes from the concept of ¡§community infrastructure establishment¡¨ launched by Council for Culture Affairs in 1994. ¡§Community infrastructure establishment¡¨ takes communities as target and live them up by arts and culture events in order to promote their culture industries. This concept also draws a blueprint of various kinds of festivals or activities at different time around the whole island. Arts and culture events which combine local histories, culture, industries and tourism not only revitalize local industries but also level up the entire social environment. Further more, the model of international communication and ¡§Community infrastructure establishment¡¨ will become reality through promoting such events. However, the qualities of culture events held in Taiwan these years declined due to their fancy outward displays with poor inward statements. Such phenomena reflect the rough decision-marking process and no interaction with communities. When the financial supports from government shrink year after year, what should we do to take the challenges from long-term operation of festivals as well as culture events? This case study focuses on the project of ¡§Dream Parade¡¨ in Hsichih, Taipei county, and compare it with the ¡§Fremont Solstice Parade¡¨ in U.S., ¡§Hsinkang International Community Festival¡¨ in Chayi county, and ¡§Utopia¡¨ in Taichung city. Through analyzing these three cases, we can find two major characteristics that make the ¡§Dream Parade¡¨ an adaptable model. First, it follows the concept of ¡§Community infrastructure establishment¡¨ and accomplishes it by stepping in community with arts and culture as well as developing an interface for all residences. Second, the administration from enterprises takes place of government fund and takes the leading role to enlarge community participation. The researcher of this study also participated in the project of ¡§Dream Parade¡¨ as program specialist and tried to set up a model for running international festivals associates with local communities. The actual experience derives the following conclusion: tracing back to the original meaning of ¡§community¡¨ and regarding communities as the most important part of the model mentioned above, the operation of festivals will truly become the way to connect the international society.

No description available.